Malevolent Creation - The Ten Commandments (1991)

A very promising debut record from this Floridian death metal act considering the amount of acts from Florida, or who sought Florida, during the explosion of the scene. Malevolent Creation remain one of the most potent acts, dealing in brutal, bone-breaking extremity, tight percussion, heavy riffs and the gruff vocal delivery. 'Multiple Stab Wounds' remains my favourite cut, a mid-tempo grinder with some electric guitar work and a structure reminiscent of Death with its decipherable vocals and complex arrangements. A majority of the other tracks on offer take the speed up a notch, 'Impaled Existence' brings to mind Morbid Angel at their very best, 'Sacrificial Annihilation' features some superb bass work, and 'Injected Sufferage' is classic death metal. This is one of those death metal albums that deserved more promotion and coverage, and has stood the test of time.

7.5/10

Fishbone - The Reality Of My Surroundings (1991)

The world of alternative metal owes a lot to the soulful innovations of the mighty Fishbone. The 'Truth And Soul' record was a wonderful vacation into a world a galaxy away from metal, but on 'The Reality...', and after bands such as Faith No More, Mordred and Living Colour had stirred up the void of stagnant metal, things would be different as more mainstream acts such as Anthrax promoted the talents of such acts, collaborating with them and praising them as the second coming. Of course, Fishbone, Mordred, FNM et al, were pretty much THE second coming, a new wave of creative hard rock beyond the imaginings of blood-soaked metal fans, with some still standing agog and sneering in disgust at the sound of heavy guitars laced with funky horns, cool scratches and samples, soul-filled vocals and ska anthems. Fishbone should have been massive, 'The Reality...' being their defining moment of classy and imaginative rock that swayed like the most majestic of palm trees. The talented Angelo Moore breath-takingly sparring with the schizophrenic sounds on offer, and the messages were as clear as any Public Enemy record, from political gestures to songs of the street, truly inspirational snippets from the mesmerising and catchy and uplifting 'Everyday Sunshine', the more gloomy 'Sunless Saturday', the slo-burning and stoned 'Pray To The Junkiemaker' and funk strut of 'So Many Millions'. Fishbone remain such an inspirational band, and when the term 'funk metal' was introduced, forget your slap-happy imitators and white boy infiltrators, Fishbone was the word.

8/10

Malhavoc - The Release/Punishments (1991/1992)

I purchased this peculiar cassette long ago now, and still remain dumbfounded by its sinister notions. Malhavoc, as best as I can describe them, are like a more industrialised Swamp terrorists, the band fronted by the mysterious James C., the band known for their bizarre stage antics such as appearing naked and performing self-mutilation. Grim stuff, and such morbid obsessions and fascinations bleed through this album, 'Punishments' samples the David Lynch movie 'Blue Velvet', thrashy riffs chug along, cyber-beats provide the back drop and vocally it's an obscure, muffled rasp. 'Woodwitch' uses a wonderfully creepy sample amid cyber-chugs, the lyrics breathe menace. 'Release' opens with an almost beautiful symphonic chug that only a band of Celtic Frost's stature could invent, vocally it's a Mike Patton circa the more obscure sections of 'Angel Dust'. Malhavoc are neither here nor there but remain completely fossilized in a dark void of cold blackness, churning out industrialised metal noise and avant-garde thrash that should appeal to most people with an open mind. At times insane, usually always intense and a touch bewildering for those brought up on traditional metal.

7/10

Believer - Sanity Obscure (1991)

All you satanic death metallers out there should not be put off by the fact that Believer are a Christian extreme metal act. In fact, 'Sanity Obscure' is one of the most musically accomplished thrash records ever released. Effortlessly the bands second record breezes from the speakers, bringing to mind Voivod on the vocal rasps and tight, complex speed metal tunes. Eight tracks to marvel at, including a strange yet impressive cover of U2's 'Like A Song', and the band somehow displaying a wonderful versatility by embedded violins and a female opera singer into their sound. Believer are certainly an unpredictable US outfit who are not afraid to experiment, the technical thrash will certainly appeal to fans of Atheist and the like, even if the lyrics are written from a Christian perspective but cleverly so, but to be honest, it wouldn't matter what the songs were about, 'Sanity...' is one of those seemingly out of time, yet timeless extreme records that deserves a mention each passing year. Kurt Bachman's vocals are clear yet sneering, the guitars progressive, clear and soaring, and the song structures amaze time and time again, and it's records like this, from seemingly long ago, that make the modern music scene a laughable state.

8/10

Swamp Terrorists - Grow-Speed-Injection (1992)

More '80s thrash riffs are recycled by the Terrorists, whose second album follows on in the same vein as the excellent debut, 'Grim Stroke Disease'. As usual the samples from horror movies are in abundance among the peculiar industrial beats and dance rhythms, and vocally it's Lemmy resurrected as some cyber-void, snarling, spitting and sneering over the soundtrack. Compelling listening for those into the warped world of avant-garde industrial music but for metal fans this may be just a little too diverse, a weird journey into unhinged disco, hideous electro and sinister sampling. The artists, programmer STR and vocalist Ane H are talented individuals who compile a bizarre collection of demented beats and grinding guitars, but such expression is an acquired taste.

7/10

Master - Master (1990)

It has often been argued as to which band invented death metal. I'd have to say that there are two clear favourites for the title, Death being one of them, the other Paul Speckmann's Master, a true cult act if ever there was one yet a band who never scaled the heights of Death, or a majority of other death metal acts to be honest. Line-up changes, personal issues and various other projects meant that at the beginning Master were an on/off group, but this record certainly shows why the band were considered the kings of the underground. At the time the record, top me anyway, seemed pretty insignificant, once bands such as obituary, Morbid Angel etc, had found their feet, but this debut album deserves its praise. Master play a mid-paced death metal like a horrible mutation of Motorhead, Venom and possibly Slayer, all rather formulaic but the musicianship remains tight throughout. 'Pay To Die' goes straight to the throat, the bellowing riffs chug throughout, elements of the mighty Possessed here, but overall the album fails to make a considerable mark. A few of the tracks came from the catalogue of Speckmann's previous band, Death Strike, 'Funeral Bitch' certainly remains a cult classic, despite continued criticism of Speckmann's watered down vocals which appeared far more primal in Death Strike. However, Master will always be known as the fathers of the scene, even if their recorded output fails to match the legend surrounding them. An average record that remains light years behind the likes of Possessed and Death. To say that 'Master' was recorded and released at the wrong time is a huge understatement.
6.5/10

Various - Sub Pop Rock City (1989)

The heart and soul of the term 'grunge' exists within the folds of this compilation. Forget 1992 Nirvana, Alice In Chains, Pearl Jam and all the glossy Americanised crap, Sub-pop was about punk attitude and fuzz, summed up in this records eleven tracks, and I'm pretty sure that the grunge fans among you would be completely unaware of at least half of these bands. Sure, those who recall the early days of this cool scene, would be delighted to hear Tad's driving 'Sex God Missy', Nirvana's 'Spank Thru', Mudhoney's 'The Rose' and Soundgarden's ultra-cool 'Sub Pop Rock City', rock 'n' roll for the next generation indeed, but it's the lesser known acts who truly win out here, and remain the true core of the scene that completely lost itself. The Fluid provide the mega-groove fuzz of 'Is It Day I'm Seeing ?', a wonderful sing-along anthem, Green River are there as expected with the superb 'Hangin Tree', but Catt Butt's 'Big Cigar' is pure garage sleaze, far more primal than the what the scene puked out in the mid '90s. Nights & Days ("Who ?", I hear you ask), offer the jerk-out 'Split', Blood Circus (great band name) empty their bowels with 'The Outback', whilst Swallow ('Zoo') and the wicked Thrown Ups spit 'You Lost It'.

I'm not sure how easy it is to purchase this record nowadays, but a version on vinyl is a must have. Let the fluff gathering round the needle provide you with extra fuzz for your ears. This IS the sound of grunge. Blood, sweat and fury.

7/10

Painkiller - Guts Of A Virgin (1991)

This will appeal to metal fans like a shaven head! Painkiller, the brainchild of artist extraordinaire John Zorn, are another of those excruciating and truly disturbing bands, featuring the talents of bassist Bill Laswell, Mick Harris, formerly of Napalm Death, and the bewildering Yamatsuka Eye on 'vocals', which are in fact only comparable to Mike Patton at his most alienating and indecipherable. Very much in the Naked City vein, and rarely providing any melody but merely a torturous, epileptic jazz fusion of insane punk and total, horrifying noise, mashed up like some backwards cartoon. I was surprised that the earache label released such a pile of incomprehensible violence, but after the eerie strains of the mighty Mr Bungle there were many groups forming to possess our minds, for instance the manic O.L.D., the dub horror of Scorn, and various Mike Patton projects. Quite beyond the realms of music I guess and certainly not a gig I'd even think of attending, Painkiller are saxophonic destruction for the unhinged. Even Naked City remain more entertaining than this, so track titles are pointless from here...enjoy at your peril.

6/10

Alice Donut - Donut Comes Alive (1988)

Long before alternative metal was making me vomit, these peculiar martians landed with their refreshing sound of lightweight punk, hard rock twang and trashy glam. Hard to classify the band, but the term 'quirky' is good enough for these New Yorker's but it's pretty far from 'metal' I guess, and more of a lively, uplifting and at times jangly rock record with a sunshine smile, licks of sarcasm and sickly sweet groove. Too much of such a thing may be a little too unhealthy, but the breezy choruses, crisp vocals courtesy of extraterrestrial voicebox Tomas Antona and sense of humour enables the band to sound very relevant still today. Having once opened for Nirvana, the band toured extensively, and such a sound deserves to be heard the world over but the nonsensical cheerleader evil of Alice Donut is something at once delightful yet alienating. Chart success would have been deserved, but also creepy! The band influenced by everything from politics to sado-masochism and 'The Exorcist'.

7/10

Grotus - Slow Motion Apocalypse (1993)

A gem of a record this, Grotus somewhere between a hellish Corrosion Of Conformity, some bleak and nightmarish industrial rock, a mutant Metallica, yet with the eerie variation of say Faith No More, a violent grunge and the clanking Consolidated. Somewhat of a cult band who should've been bigger. A weird kaleidoscope of creeping images, heavy riffage, odd samples, catchy tunes, the sneering vocals of Lars Fox, a drug-induced panic attack from San Francisco that grooves and yet collides with the planet just like the sweeping doomy grooves of Trouble and the likes. Grotus belong in that remote cave inhabited by the likes of Cop Shoot Cop who invent their own sound and yet still have a resemblance to many others acts, without ever once becoming a known quanity. The mystery here is the brooding drums of of Boyd, the groaning guitars and the reek of sarcasm as society gets whip lashed time and time again by this freakish record. If anything, Grotus would appear more comfortable alongside the morbid stirrings of Celtic Frost, particularly 'Into The Pandemonium', as there are almost danceable tracks here, yet each being weighed down by a degree of oppression and grime.

Well worth seeking out, a refreshing experience for those after something engrossing, strange, yet heavy all the same.

8/10

Immolation - Dawn Of Possession (1991)

If you like your death metal heavy, then buy 'Dawn Of possession'. released during the drowning time of death metal, when thousands of similar sounding bands were emerging and yet opting for that Floridian sound of menace, but Immolation, like Obituary, had that certain something which enabled them to distance themselves from the saturated market. 'Into Everlasting Fire' booms in like thunder and the band don't let up from there, dynamic riffs, growling vocals and a dense sound will give every self-respecting death metal fan something to suck on. Good cover too.

7/10

Entombed - Clandestine (1992)

Mr Petrov, chief growler from the buzzsaw assault of the 'Left Hand Path' debut, mysteriously doesn't show up on here, instead vocal duties are handled superbly by Johnny Dordevic, to produce the bands finest guttural record. That familiar fuzzing, stampeding, uncoiling riffage is present, but this record is far darker than 'Left...', Dordevic's vocals slightly more gothic, as is the deathly drone, a grooved mixture of sharp, chainsaw death metal and gloomy grind. The band reach classic status on the toxic 'Evilyn', the pummelling 'Blessed Be' and the arrogant 'Stranger Aeons' with its chugging catchiness. Drummer Nicke Anderson batters the skins, and apparently he wrote most of the tracks. This is classy death metal, Entombed created their sound long ago, often called death 'n' roll, and it was a joy to see them on the Gods Of Grind tour in '92, but even more remarkable when LG Petrov took the mic once again, and although the death metal fans were left frothing I was rather disappointed that Dordovic had been ousted, because 'Clandestine' is certainly a work of brutal art in the death metal world.

8/10

Optimum Wound Profile - Lowest Common Dominator (1992)

During the early '90s there were some tragically overlooked industrial-rock bands and OWP, from UK, were one of those. As soon as 'Drain' comes clanking in with its double vocal attack, you sense a refreshing violence on show that assaults the eardrums and is akin to having your head put through an incinerator. This is pretty forceful stuff, a real stampede of almost hardcore quality, the pounding 'Ego Crotch' has an element of Faith No More at their most vicious, a good groove yet an unfathomable intensity leaves you wondering why you've never heard of this band before. I was fortunate, I had great contacts back in the day, but don't let OWP pass you buy, and check out the follow-up, 'Silver Of Lead'.

7/10

Kong - Phlegm (1992)

I'm not sure if this is madness or genius so I'll opt for both. 'Phlegm' is even more bizarre than 'Mute...', combing everything from thrash to industrial, from circus fairgrounds to film noir sleaze, very difficult to pin-down, favourite tracks are the grinding 'Stockhouse', the hellish dance psychosis of 'Bela Soul', and the brooding 'My Heart Soars Like A Hawk' which ends up as an '80s breakdance run-through with funky horns. I can't tell you what Kong sound like, they are beyond the realms of pigeon-holing, it's clearly not metal but it once sat in some remote canyon which enabled metal magazines to pick up on it, but if I had to describe it, I'd say it was the soundtrack to your dreams...often confusing, always unpredictable, sometimes scary, but a journey we couldn't live without.

8/10

Kong - Mute Poet Vocalizer (1990)

Not really metal at all despite its metallic elements, this has been described as everything from progressive to industrial, but what makes it more of an acquired taste is the fact that Kong are an instrumental band, their live gigs have become legendary as each band member stands in a corner of the venue and belts out various noises from their chosen instrument. Peculiar. However, don't be put off by the isolation, Kong is a very listenable experience, the band effortlessly creating strange grooves and hooks beyond the void of extraterrestrial oddness.

British label Peaceville must be commended for their roster of varying artists, spanning from the controversial black metal gods Darkthrone, to the electro-murder of GGFH, numerous thrash and death metal acts, and of course entities such as Kong. Put simply, cuts such as 'P.R.O.V.O.K.', 'Cows' and 'Quite' will either leave you gagging for more or running as far as possible from home because this is quite an alienating experience, but one worthy of your attention.

7/10

Fastway - All Fired Up (1984)

Not the best album cover I've seen, but Fastway once rocked with the best of them, Dave King's vocals send a shiver down my spine time after time, usually due to the connections with the ultimate heavy metal film 'Trick Or Treat' and what it meant to me, but put that aside, and this is still steamin' rock music that'll have you punching the air as the Led Zepp' comparisons rise to the fore, the riff of Fast Eddie Clarke on 'Misunderstood' is pure Jimmy Page. Fastway have always had a distinct swagger and are possibly one of the most underrated bands of all time. Their first batch of lp's certainly preferable in my opinion to much of the work by AC/DC, Kiss, Aerosmith, Dio and the likes, and yet the slippery tones of Dave King have somehow faded tragically over time. I imagine that Fastway would've been some band live, and 'All Fired Up' has enough gas in its eleven tracks to kick dirt in the faces of many more successful bands. the brilliant 'Station' has a timeless gig, and you can see where Young heart Attack have gotten their raw influence from.

7.5/10

Crowforce - Crowforce (1992)

Little known UK band Crowforce released this little gem way back in the day when alternative metal was at its peak, Faith No More had stained the globe, and bands were pretty much diversifying beyond metal's exotic dreams. Crowforce forged dance with rock, altogether pretty lightweight and certainly doomed to fail, but this debut, the only album release from the boys, remained in my tape deck for a while. The Crowforce style of dance-rock wasn't really ground-breaking but in 'Chinese Whispers', 'Possession' and anthem 'Dont Look Down' the band proved their worth. Forget the blossoms of Nine Inch Nails, Crowforce were far cooler, at once mingling a rave-like hysteria with pulsating guitars, hip-hop scratchings and always a big groove. If you can find this, don't leave it, purchase it and remember what it was like in 1992 when 'nu-metal' actually meant NEW!

7.5/10

GGFH - Eclipse (1991)

GGFH stands for, Global Genocide Forget Heaven, I guess that sounds a little silly...but be warned, what these weirdo's offer is something far darker than a majority of metal albums, in fact this is downright scary at times. If you like the mutant movie soundtrack music of Swamp Terrorists then the perverse nature of GGFH will certainly appeal, but metalheads be warned, this isn't metal as such. GGFH fit into a void that during the late '80s and early '90s existed between industrial and metal and yet often strayed into cyber dance, avant-garde, industrial soundtrack and the grimly surreal, in fact, this is the perfect unhinged soundtrack for anyone fascinated by serial killers, dark corners, seedy and sick horror flicks. GGFH are fronted by Ghost, a peculiar gent' whose creepy slurps give us bizarre commentary whilst Brian Joseph Walls batters out an electro-synth distorted circus of horrors that borrows film samples, pumps out twisted beats and the all out sinister.

Extremely freaky, bereft of guitars, but more unsettling than a visit from Satan.

7.5/10

Thunderhead - Behind the Eight Ball (1989)

Imagine if Kiss were actually any good and had the attitude of say Motorhead, then you'd get Thunderhead. I saw these guys on tour with Motorhead and found this debut record surprisingly good, quality heavy metal. Okay, so Thunderhead isn't the best name but what these German's have ability in, is blurting out straight forward rock 'n' roll and even with a few cliche's it's not tiresome in the slightest and wouldn't sound out of place among some of today's bands. It's a shame the band never made it, several other releases would follow up until 1995 but I guess that was the time when such traditional metal was out of fashion. However, what makes Thunderhead so good is their disregard for trends and like Motorhead, they are happy to belt out some decent tunes with passion and aggression, mainly from Ted Bullet's strong vocals and the rolling riffs.

7/10

Exciter - Unveiling The Wicked (1987)

What a lump of molten metal this record is. As soon as Dan Beehler's drums tumble in there is a sense of metal atmosphere, burning skulls, rubber bats, inverted crosses, denim, leather, studs...and the guitars of Brian McPhee are shredding to say the least, and whilst I'm not a fan of drummers who sing, Beehler proves he has lungs of fire, 'Breakdown The Walls' is an anthem for all metallers worldwide, stoking great fires in the darkness, vibrating the speakers as the guitars rip the floor, and you begin to realise that Exciter, despite being massively underrated, show the true fist of metal. Their sound is a flaming hot cauldron of accessible metal, at times bordering on power thrash mixed with a Dio mysticism, particularly on 'Die In The Night', and if you can forgive them for the abominable lyrics on '(I Hate) School Rules', then you'll find much to savour here. Exciter are shockingly refreshing without being immensely original, but the music they play is done with full commitment and a consistent tightness. For me, Exciter have always shone as a band, so if you're looking for a sound with meat, and which symbolises '80s rebellion then Exciter are worth a listen. Cracking album cover too.

7.5/10

Onslaught - The Force (1986)

These British thrashers were ignored in the early days and certainly not taken seriously by the time 'Power From Hell' (which I actually liked) hit the racks with its stuffy gloom. This record boasted a different vocalist to 'Power...' which was more of a punky death metal affair but 'The Force' is a dense, solid thrash record assaulting the eardrums and all posers with its metal messages of hope of despair, mainly in the form of 'Let There Be Death', the wails of 'Fight With The Beast' and the murky 'Flame Of The Antichrist'. Although there are only seven tracks on the opus, most weigh in at over six-minutes and will certainly provide a majority of thrashers with a feel that was produced on Slayer's 'Show No Mercy'. 'The Force' is an understated record, but it's symbolic in its imagery and actually not as turgid a listen as one would expect, so, as the band say on their final track, "Thrash Til Death".

6.5/10

Atrophy - Socialized Hate

With a cover reminiscent of Mordred's classic 'Fools Game' album, Atrophy play a similar mid-tempo thrash with more spiteful, dryer vocals. 'Preacher Preacher', 'Beer Bong' and the likes are tight, sharp thrash tracks that bring to mind Sadus without the harsh technicalities, the lyrics are decent, the solo's impressive and thrash factor certainly puts the band in that strong second division of melodic thrashers, and if you like your thrash no thrills then this is your cup of tea.

7/10

Exhorder - The Law (1992)

After hearing this battering ram of a record, Pantera have a lot to answer for, 'Soul Search Me' crashes through the room like a wrecking ball, the merciless chug of 'Unforgiven' weighs down heavy, and 'I Am The Cross' just pummels relentlessly, leaving you wondering why Exhorder were not in the major league of thrash acts, but instead resorted to cult status and then defunct after just two quality records. Their cover of Sabbath's 'Into The Void' is a true monster, and vocalist Kyle Thomas comes into his own on the bruising title track. There seems to be a divide of opinion regarding Exhorder with sceptics claiming the band are simply overrated, whilst others salivate over the groove-based riffs and explosive drums. Sure, Exhorder weren't the second coming, but before Pantera made the headlines, these guys were attempting to crack walls everywhere but for them, the end was nigh as once again the grunge-era destroyed any hopes of brutal music making headway and so the band, like so many others, smoldered and then petered out.

7.5/10

Fastway - Fastway (1983)

Fastway, for some unknown reason could never break into the big league of metal, despite this smoking debut, fronted by rocker 'Easy Livin' and the searing vocals of Dave King who even gives the mighty Robert Plant a run for his well-earned money. Difficult to knock a band who are able to churn out such classics as 'Heft' with its dark overtones, the swaggering 'Feel Me, Touch Me', the Zeppish ' All I Need Is Your Love' and stormy 'Far Far From Home'. Fastway have always been a favourite of mine after the brilliant 'Trick Or Treat' soundtrack, their ability to outshine the rest of the field with such stirring rock 'n' roll, courtesy of guitarist Fast Eddie Clarke mainly. It's a shame the band couldn't produce such fiery temples on a regular basis, but for those of you seeking metal beyond the plastic realms of Kiss, check out Fastway because what they give is something akin to Zeppelin magic and their own brand of magic rock.

7.5/10

Meliah Rage - Solitary Solitude (1990)

Some metal albums just won't let you down. If you're after a no compromise, reasonably heavy, straight to the point record then check this out. Kinda mid-tempo thrash in a sense with power metal connections, I'm liking this kind of stuff that's perfect for the fist-clenching metal heads, 'Swallow Your Soul' has some slamming drums and clear but angst-ridden vocals, and a catchy chorus, 'Razor Ribbon' is seven-minutes of quality, hard-hitting with a Metallica-esque acoustic intro and chugging riff, and 'Lost Life' continues the trend of reasonably lengthy tracks with its mid-paced beginning. Overall this is a solid record, tight musically, from the Boston act, their third release, showcasing Mike Munro's no thrills yet powerful vocals, making Meliah Rage one of those acts worth tracking down if you're after reliable, classically influenced hard metal.

7/10

Exhorder - Slaughter In The Vatican (1990)

This album immediately provoked controversy when the cover showed the Pope being led to his own death, and if that wasn't enough to make the seas boil, these Louisiana nut-cases produced a level of thrash that just seethed burning aggression. Exhorder ground out despicably heavy riffs, comparisons were even drew with Pantera but Exhorder's hard-as-nails approach was more spiteful, more angst-ridden and even heavier, not that I've ever been a fan of Pantera. This is brutal stuff without entering death metal territory, and it will leave you bruised after the forty or so minutes of metallic cacophony. Tragically, the band produced only one more record, the equally vicious 'The Law' but haven't been heard of since. Rumours of a reunion may be on the cards, but nothing destroys like records from back in the day, and this record should belong in every metal fan's collection because it's seriously big, extremely hard, and more aggressive than most who attempt a similar game. 'Death In Vain', 'Desecrator' and 'Anal Lust',...it's nasty stuff with riffs that kill.

7.5/10

Iron Angel - Hellish Crossfire (1985)

Relatively obscure German thrash from '85, great cover, and songs worthy of tracking down from the basement of lost souls. Iron Angel have a naivety in their music, like a group of teenagers attempting to be evil by banging out countless slabs of speedy metal, 'The Metallain', 'Black Mass', 'Legions Of Evil' and 'Heavy Metal Soldiers' may sound like dated, gloomy fossils of thrash, but the album provides much for the thrasher seeking the pits of darkness for such metal grooves. There is a primal feel to the riffs, the imagery is classic, and that's what makes Iron Angel one of those secret gems of a record, fired up by Schroder's shrill cries, this is stuffy metal indeed.

7/10

The Organization - The Organization (1993)

Any band that features members of Death Angel, except Mark Osegueda, is going to be worth a listen. The O, as they became known, came at a strange time however and would have been better suited to the late '80s, early '90s alternative metal climate instead of being born during a time when bands such as Nirvana and Soundgarden were exploding. The Organization are difficult to pigeon-hole without being overly diverse. Imagine Death Angel circa 'A Room With A View', heavier and more groove-based with a funky flavour. The O are not a thrash act, 'Free Burning' has a traditional metal feel and a lighter Corrosion Of Conformity influence, 'Lift' soars with Cavestany's vocals and only 'Withdrawal' remains the only brooding chug. The band are naturally clever at creating a riff, at times their invention brings to mind Mordred without the samples and jazzy instrumentation but the band aren't afraid to throw in a saxophone wail, or Thin Lizzy soulful melody. Unfortunately, despite a follow-up record, entitled 'Savor The Flavor' the band were never going to replace Death Angel, despite the members preferring the flexibility within The Organization sound. A Death Angel reformation was always around the corner when the core of the band were brought back together during the Swarm project, but The Organization and their brace of records, despite remaining relatively obscure, are still refreshing to the ears and part of that fated Death Angel time-line of events.

7/10

Cop Shoot Cop - White Noise (1991)

With '80s metal gradually fading to black and being overwhelmed by the grooves of the '90s, bands such as Cop Shoot Cop were emerging from the wastelands to supply the world with angst-driven rock. Not quite industrial, not quite anything, this is the bands second record, and if you like the music of Consolidated, Ministry, but are expecting something slightly less grey then check it out. Hard to classify although the band doesn't need to attempt to be different, they simply fuse hard-edged odd rock with nuclear anthems yet somehow manage to parade several very accessible tracks, some cracking lyrics, clever rhythms, all the while maintaining an industrialised vision. It's not overly bleak because the band are able to write such compelling tracks, 'Traitor/Martyr', and the brilliant 'Chameleon Man' just two of twelve quality tracks that won't exactly sit comfortably alongside some of the more colourful alterno-metal groups from the time. '$10 Bill' and 'Hung Again' are dark and creepy anthems for the estranged, and 'White Noise' is an album that needs your ears. It's peculiar.

8/10

Twisted Sister - Under The Blade (1982)

Seemingly so long ago, the debut album by Twisted Sister (great band name) came amidst a heavy metal frenzy. This record is bereft of much of the goofy fun or love ballads that would pepper later records, 'Under...' is a serious quest despite the bands image, being hilarious in or out of make-up and the 'Rocky Horror...' opening of 'What You Don't Know (Sure Can't Hurt You)', in fact there is a degree of Meat Loaf about the opening rocker, but Snider's vocals show a big personality behind the blonde frizzed mop and despite the cringe-worthy 'Bad Boys' , with its atrocious chorus, the band do supply a decent amount of rebellious rock anthems, 'Run For Your Life', 'Sin After Sin' and the title cut all flashes of formulaic '80s metal. However, I guess I'm not one really to comment considering I prefer the powder-puff arrangements of 'Love Is For Suckers'!

6.5/10

Soundgarden - Badmotorfinger (1991)

A terrible album title, but Soundgarden suddenly rise above the grunge scene, even before Nirvana make their doomed landing. 'Badmotorfinger' stomps, rattles and grooves like a heady mix of Sabbath and Zeppelin, and despite always remaining behind my preferred 'Louder Than Love', this record still shakes rock 'n' roll up, taking metal in the '90s and also into the homes of those who'd feared or ridiculed it for so long. The sound on this album is at once huge and suffocating as thick smoke. 'Rusty Cage' seems lightning fast in comparison to the gargantuan steps of 'Outshined' and miserable doom of 'Slaves & Bulldozers', but it's the clattering-ram of 'Jesus Christ Pose' that sails the band into starstruck dimensions on a bruising riff and Cornell's spirited wails. Only 'Face Pollution' slackens the grip before 'Somewhere' strolls into the city like an iron giant, crushing towns and people with a casual lead foot. Soundgarden play it so immaculately, defying the fuzzy-grunge era with slab upon slab of seething groove, 'Room A Thousand Years Wide' has elements of early Alice In Chains, circa the sinister 'Man In The Box', and it's wonderfully intelligent stuff, at times seemingly lazy in its casual brilliance and as you reach the smouldering ashes of the final cut, 'New Damage', you're left realising that metal in '91 was moving into new directions of freshness, whilst still spewing an black smoke, but those who were reluctant to come along for the ride would have found it incredibly isolating relying on their old W.A.S.P. albums for satisfaction.

8/10

Green River - Dry As A Bone/Rehab Doll (1986/1988)

Far more iconic than Nirvana, and cooler than Mudhoney, although fronted by the same guy, Mark Arm. Green River were THE definitive 'grunge' band, these releases pivotal moments for the scene (once known as Sub-Pop due to the label they bands were on), the band churning out monster Sabbath riffs laced with garage-fuzz courtesy of Stone Gossard and Jeff Ament who of course would go on to be part of Mother Love Bone and Pearl Jam. 'Dry As A Bone' offers the gloomy 'P.C.C.', the doomy 'baby Takes' with a riff that appears to have been riffed off by every 'grunge' band hereafter, and the more upbeat fuzz racket of 'Searchin' which sounds like some obscure '60s beat record. Try and pick the cd up as you'll get the exquisite 'Rehab Doll' also, the title cut an immense, dark and funereal dirge, the gothic 'Together We'll Never' which has a feel of Danzig's 'Possession' about it, somehow! Green River exude attitude, long before the scene truly bloomed, but I prefer the fact that this record remained in the yukky basement of sweat, where Sub-pop belonged and most certainly flourished at a more evil rate.

7.5/10

Kory Clarke - Opium Hotel (2003)

Any output by this man deserves a mention, even if this solo effort from the ex-Warrior Soul voice is more of a psychedelic yet grey haze of nuclear Beatles and trippy, fuzzy, drug-induced wilderness. I expected something far more rock 'n' roll from Mr Clarke, possibly some cutting edge riffs, big grooves and his angst ridden vocals, but this, being his only solo effort, is very much a lazy, almost comatose recording, often messy and, much like Crue's 'Generation Swine' it experiments greatly, from industrial gloom to sleazy glam, but it never really goes anywhere, and rather sadly Clarke's once mighty rasp gets lost behind the wall of distorted grunge-punk and cyber-beats. It sounds to me as if Kory got completely wasted and fuelled his ego by indulging in some moody psych, and yet still attempts to spit out similar messages to what he would've done, albeit more supremely, in Warrior Soul. It would be unfair to call this metal, in fact it never plods beyond a druggy drag, the glam stomps cut in occasionally but this is a very weird experience, kinda imagine John Lennon, Jim Morrison and Andrew Wood of Mother Love Bone in the same room with Kory, completely off their faces, ranting amidst lucid dreams as a soundtrack of sorrows bleeds from the walls like smog. Not the most uplifting experience if your sober, but somehow Clarke has a disturbing coolness, poetically unnerving as he aims his wrath at the dying planet, and then, one last time, taking a shot, head spinning into blackness, the sky swirling, and then nothing...just that psychedelic grey haze again.

7/10

Faith No More - King For A Day, Fool For A Lifetime (1995)

The last decent Faith No More record, although that's even questionable, as Jim Martin leaves the nest, leaving the band with an almost skeletal sound, the guitars more of an echoing shell of noise that drifts from punky groove to the downright suave, and it's the more subtle moments on the record that save it from being a blur. After the multi-coloured glory of 'The Real Thing' and perversity of 'Angel Dust', FNM are on cruise control. Patton is no longer the shady, serial killing clown, instead donning suit and and glasses, even on the ballsier numbers, he remains more dignified, less sleazy, rasping, rapping and crooning over a variety of odd numbers, but in reality the album doesn't get going until the mighty third track 'Evidence', a swinging lounge bar sway promoted with a cool video to match, again seeing the band border on a bizarre commercialism, but encased around the track are three very average tunes, the punkoid rumble of 'Get Out', 'Ricochet' and 'The Gentle Art Of Making Enemies' which attempts a Mr Bungle awkwardness, but doesn't uplift, scare or dirty like it should, and that's the problem here. Although it's a good record, 'King For A Day...' shouldn't have happened, and I'd have much preferred the band dissipating after the first too Patton-featured monstrosities. Faith No More will always have that ability to shock, destroy and twist but the quirky twang of 'star AD' is a pure and simple Bungle rip-off, it's here the band must be questioned. Roddy Bottom's lush keyboards are patchy, Gould's once skull-thumping bass has become more of a funky regurgitation, whilst Patton leers over this creation as if he's the demented master of ceremonies fully aware of what he's turning this once mighty band into. There's no question that FNM are one of rock's greatest and most original bands, but 'King...' is a step too far, featuring too many moments that even seem out of place among their already diverse and heart-stopping back catalogue, and whilst I am of the opinion that the band do what they want, this is more about individualism instead of a team effort of several weird guys. Maybe they chose to alienate on this record, but 'Angel Dust', even in its vulgar state was an immensely catchy record, but on here there are too many of the same indecipherable patterns where Patton screams, bellows, yelps, and gurgles to the downbeat chug of noise behind him. 'Caralho Voador' provides an intriguing respite from the skull-scraping grind, and the second half of the platter really picks up, taking us back to some of the bands finest moments, the title cut and 'The Last To Know' being true FNM bombastic epic's, 'Just A Man' finishes the album wonderfully, a smooth yet irresistibly catchy swing and Patton proving why he's the greatest rock vocalist on earth.

Of the fourteen cuts there are certainly a handful that make for joyous listening but too many such as 'What A Day' just grate. I guess, as such a fan I'm just being unkind to a band who recorded two of the most amazing records of all time, so to expect a winning formula every time is a little over-expectant. 'King For A Day...' suffers without the gonzoid riffs of Jim Martin, but still shows the world why the band are in a field of their own.

8/10

Spread Eagle - Spread Eagle (1990)

Another big noise band from the years that time forgot. Spread Eagle do admittedly have more in common with the gyrating sleaze of Guns 'n' Roses and heavier Skid Row than with alterno-metal, but somehow this little gem of a record has the swagger to at least prop up the likes of Love/Hate and Saigon Kick, remaining far too cool to be just another sleazy hair record. The band may wear cowboy boots and have big hair, but there's far more substance here, mainly in vocalist Ray West who literally blitzes the speakers with his catty growl which is part Axl, part Sebastian Bach but made all the more noticeable by some of the large grooves on offer. Spread Eagle, like so many others from this period, simply faded away whilst lesser talented acts took the limelight, but you can't go wrong with a track like 'Switchblade Serenade', driving rock with just a hint at colour which promises even better things. I heard their second album ('Open To The Public') was cool too, but as Nirvana mania suffocated the radio waves, Spread Eagle were destined for the garbage bin. Shame.

7.5/10

Disharmonic Orchestra - Expositionsprophylaxe (1990)

A strange old brew here. These odd Austrians were somewhat of a cult act, described on promotional flyers as '"strange" and "morbid", I wouldn't say the music on offer here is overly bizarre although the record does begin rather peculiarly and the twisted riffs of the opening three tracks are interesting, catchy but in the end, just mid-tempo grind/death core with overly long titles possibly to alienate as well as create some kind of bizarre aura. To be honest, this record isn't bad at all, it has its faster moments and on the back of the record the band look like they are three teenagers trying to be weird, but musically it's a complex array of heavy death metal, gruff vocals, pounding drums, and discordant riffs. There is the occasional stray into progressive surrealism, but nothing mind-expanding, but I did hear that the band shifted from the deathly style to become more of a progressive, avant-garde act, but just because DH indulge in track titles such as 'Quintessentially Unnecessary Institution' and 'Disappeared With Hermaphrodite Choirs' doesn't exactly make them arty, but I think that a lot of fans of obscure grind/death will find something to bite on here. Occasional dodgy lyrics may cause some to think this band are slightly jokey - but the music over-rides any inner wit.

6.5/10

Cannibal Corpse - Eaten Back To Life (1993)

Pretty bog-standard by today's..er...standards, and even in '93 this no-thrills gore show paled in comparison to the likes of Obituary, Morbid Angel, Death and the likes, but the original realm of the dead was crammed with similar acts vying for the crown of gore kings, Suffocation, Gorguts, Gorefest and the likes were also spewing out indecipherable clots, but it was all pretty welcome to ears at first. Cannibal Corpse, then fronted by chief growler Chris Barnes, were considered slightly cheesier than some of the more complex or darker bands, and when you hear 'Bloody Chunks', 'Hammer Smashed Face' and 'Skull Full Of Maggots' you won't be shaking your head in disgust but simply laughing along at the grisly tales that you'd come to expect. cannibal Corpse maintained quite a cult following even after Barnes left, and some of their records have been reasonable, but this kind of blood-spattered death metal I can take with a pinch of salt, but this album is worth its place even if there were hordes of better records. If you're expecting a speedy gruff blur of predictable death metal, you've come to the right record. I'll stick to the watery, doom-laden groans of Autopsy.

6/10

Deep Purple - Machine Head (1972)

Many rock bands site this as their most influential record, mainly for the classic 'Smoke On The Water', one of rock's most known and classic tunes built on a Blackmore riff to die for and a wheezing organ, unbelievably heavy metal and unintentional too in that it was creating so many monsters in the womb. 'Highway Star' is another Purple classic, 'Maybe Im A Leo' has a funky flow, 'Never Before' a bluesy shuffle and 'Space Truckin' an original glam diamond in the rough. I've never been the bands biggest fan, and have only ever listened to their early works which most traditional metal fans will tell you are must have lp's. I place Deep Purple after Sabbath and Zeppelin...and long way after, with many more bands in between.

7/10

Skin Chamber - Wound (1991)

As metal deteriorated in the early '90s, I became smothered by the gruelling sounds of industrial. No, not the throbs of Nine Inch Nails or the grooves even of Ministry, but instead the swollen migraine grind that was Paul Lemos, the man behind other noises such as Controlled Bleeding. This is true industrial hell and if you like music violent, torturous, alienating, intense, burning, pounding - then look no further, although the term 'music' would be used loosely here for this awful, ear-busting, rusty, oily tumult where song titles have no meaning because this dreadful duo are only interested in painting pictures of black swinging chains, blood-dried meathooks, gurgling radiators, wielding sparks, metallic drones, unbearable grinds and churns, screeching cogs and combusting engines. This is as extreme as industrial metal gets, the crazy professors making their sounds with all manner of instruments, sounding as if they have rehearsed in a scrap metal yard by clattering pipes, scraping corrugated iron and simply trying to create something so smog-filled. You'll choke on this record and anyone who claims to get such pleasure from the cankered cell of a sound will be considered slightly unhinged. This is beyond apocalyptic, and far more severe than the grey dub of Godflesh. After five minutes of this burning pain you'll be coughing up metal splinters, chewing on foil and experiencing the worst migraine known to man.

7/10

Flotsam & Jetsam - No Place For Disgrace (1990)

A thrash band that never really rose above the hordes, I recall purchasing this album but despite its inclusion here, the memories do not bring well-being or enlightenment, as I remember various headaches after sifting through the empty thrash tracks, and always avoiding the disgusting cover of Elton John's already disgusting 'Saturday Nights Alright For Fighting', which sat right in the middle of the record. the cover, the sound, and the direction seem aimless, I remember with fondness the excellent very metal cover to the 'Doomsday...' debut album, but this left me cold time and time again. I almost snatch the album away from this website in case some unfortunate thrasher goes and buys it, but like I said, some records are here just for the sake of nostalgia, and this is one of them because as thrash records go, this is pretty dreary.

4/10

Deep Purple - Fireball (1971)

It's truly amazing to look back at the careers of the greatest rock 'n' roll bands, from The Beatles, to Sabbath, from Deep Purple to the Stones, and admire how they relased classic records just a short time apart. In the modern day some bands take an eternity to release a record, claiming it is such a torturous process, when the reality is they are just lazy. So, how dare the likes of The Beatles, Marc Bolan, Led Zeppelin etc, reel off hit after hit with a click of the fingers! 'Fireball' clatters in with the title-cut, Gillan off his rocker, the album cover alone a great selling point, the aching and chugging 'Demons Eye' thunders home, 'No One Came' has a funky flavour and 'Anyones Daughter' a jig of a jangle. In relation to 'In Rock', nothing overly spectacular here, but in 1972 Deep Purple would wave a magic wand made of lead...

7/10

Deep Purple - In Rock (1970)

Many old heads believe that Purple invented heavy metal, and I'm of the opinion that any real fan of the metal genre should be as familiar with DP, as well as Zeppelin, Sabbath, Priest and Maiden, even if not all these bands are your cup of tea. For me, Deep Purple remain in the shadow of the blackest Sabbath and the Zeppelin groove, but they certainly released a handful of records of great note to metal. 'In Rock' boasts the dense riffs of 'Bloodsucker' which Jimmy Page woulda been proud of, accompanied by Gillan's electric and soulful vocals as the lightning illuminates the grim sky and all manner of devil's crawl from under their stones. In fact, any album that boasts the organ-based 'Child In Time' and gigantic 'Black Knight' will go down as one of history's greatest records and not just within the metal realm. Hard to believe the band were once a dodgy psych '60s act although the fuzz of psych does bleed through, 'Flight Of The Rat' and the immense 'Into The Fire' brings the walls down however.

This is one of those albums that fans will waffle on about forever, just like the greatest Sabbath records, just like Jimmy Page's immortal riffs and Slayer's offensive short 'Reign In Blood', because 'In Rock' is a moment in time that stands forever to them, but for me, it's simply a very good record.

7.5/10

Anthrax -Fistful Of Metal (1984)

One of the first metal album's I purchased, Anthrax very different on this debut, bereft of Joey Belladonna, vocal duties more of a typical thrash wail courtesy of Neil Turbin who was booted from the band after this record. Whilst Metallica, Exodus and Slayer hit the ground running with their careers, this mediocre, (if that!) effort didn't do much for Anthrax, a mild speed metal effort notable for it's 'Metal Thrashing Mad' anthem, made even more impressive by Belladonna's tones. 'Fistful..' is a band lacking in crunch and direction but deserves inclusion because of its watery impact it had on me.

5/10

Anacrusis - Suffering Hour (1988)

More cold, windswept thrash for the true believers only. Anacrusis somewhat an acquired taste, especially in the vocal department where Ken Nardi schreeches like a hyper banshee as the band rip through nine tracks of grey, tight, and at times intricate thrash, although the next couple of albums would explore even more progressive avenues. This kind of cult thrash made its own way, not far up the league, but more to the wayside where fans of the obscure and remote would flock to hear the complex rhythms, searing vocals and generally uncanny influences and arrangements. 'Suffering Hour' won't blow any minds, but it has that air of alienation in the sense that the band don't really care but instead will appeal to true fans whilst not making many new ones along the way due to their difficult way of progression.

7/10

Obliveon - From This Day Forward (1990)

This is thinking man's thrash - if you like Voivod, Destruction, Anacrusis, Atheist, and anything mildly sharp and potent then this Canadian act are for you. This album was somewhat overlooked which is a shame, as the musicianship on here is extremely tight and precise, producing some cutting edge passages that will stir any fan whose into their complex ferocity. I've always been a sucker for thrash acts who are just too cool to be noticed, so put Obliveon in that category where so many sinners have missed out on such a noise. Vocally there is nothing special, it's as if the vocalist is there to do a job rather than take centre stage and I think the same could be said for bands such as Atheist, whose musical genius certainly rises and dictates the album instead of any imposing vocal threat.

Obliveon, put simply, are one of those remote bands who would certainly reach cult status because their obscurities are clearly to be promoted, but it's this kind of cold, yet flesh tearing medium-paced thrash that could be considered boring by some, whereas I belong in the fan camp, all too eager to snap up such strange utterings.

8/10

The Cult - Beyond Good And Evil (2001)

I've always enjoyed The Cult, 'Electric' being my favourite groove of theirs, whereas 'Sonic Temple' and 'Ceremony' left too much to the imagination, but 'Beyond...' is certainly a turn up for the books, a heavyweight, dirty, densely layered gothic rock album produced by Bob Rock. Duffy's guitars turned up to 10 for this outing, the band firing out twelve bullets that will probably displease a majority of fans who crave that old school swagger and sway, but instead 'Beyond...' will pummel the head, taking the band onto crisper levels, Astbury still at his poetic, waffling best, but this time the wall of sound that emanates is almost too shocking to take in, and the choruses are lost somewhere in the haze of it all, despite the band grinding out several quality tracks, 'The Saint' rises from the ashes of the guitars, the band blowing up the same buildings as C.O.C. and the likes here, but also at once destroying any hope of a chart success by the thickening black smoke they exude. Personal favourites are the stirring 'Take The Power', the subtle 'Nico' which has a whiff of U2/ Simple Minds about it, but don't let that put you off, the crushing 'American Gothic' and anthemic 'True Believers' which could easily pass for Oasis.

The Cult may never get the glory days back, but 'Beyond...' is a record they should be very pleased with but I'm sure it will pass many by without notice.

7.5/10

Mayhem - Grand Declaration Of War (2000)

From the punky days of 'Deathcrush', to the cold wastes of 'De Mysteriis...', Mayhem have remained warlords of their chosen field, but to take the genre of black metal to new extremes was something to behold when 'Grand...' emerged like some megaforce from the sky. To call 'Grand...' black metal would be a terrible injuestice, because what the band achieved here is beyond the chasm of evil, taking the complex sharpness of '80s thrash metal acts such as Voivod, wielding it with a staggering arrogance that Slayer lost in the early '90s, and a craftmanship and professionalism that puts the record out on its own. Forget the thrashy boomings of Immortal, the flowing raids of Emperor and the crisp rage of Satyricon, 'Grand..' has turned the black metal world on its head, and vocalist Maniac is at the helm, marching his invincible troops through the tundra as tanks score the soil and militant drums are triggered by his commands. This is Mayhem how you've never heard them before, beyond arrogance and self-belief, beyond supremacy, beyond black metal with complex, creeping, ominous, potent injections of quality metal that at times defy genre, although possibly belong to the warped sections roamed by Celtic Frost, Coroner, at times Kreator, and other European gods of metal.

Lyrically, 'Grand...' distances itself and alienates, a spiky, rock 'n' roll armageddon is upon us, Mayhem lead us beyond light and dark, Blasphemer and Hellhammer produce musicianship of self-pride but also self-indulgent genius, defying the grimness that once walked before to stir new lands and lost horizons to claim as their own. There is an air of discordance, in turn triggering highly complex arrangements, but forget the raw and primal satanica and simply become overwhelmed by the striding, hateful 'View From Nihil' that preaches to the perverted before rushing into something resembling the jerky thrash notions of Atheist and so many other incomprehensible thrash acts, Maniac finally dropping into rasping evil, but actually appearing more threatening as marauding commander. Disturbing stuff, mind-blowing in its velocity, and bemusing in its confidence and ability to dazzle yet create something so refreshing yet remote. how the band has managed to incorporate cyber-effects into their at times industrial whisperings can only be commended, but this tricky network of exaggerations, complications and emotion is way beyond anything the genre of black metal will ever equal, and as a heavy metal record, it stands alone, like some sharp-edged monolith blocking out the sun.

8.5/10

Danzig - 6:66 Satans Child (1999)

For me, the work of Glenn Danzig is timeless, his brand of dark metal could slot into any decade of metal and still remain relevant. Despite his critics and being criminally underrated, the first batch of Danzig records are true heavy metal records, but this album is something even bigger. Despite sounding a little hoarse on this platter, the dark one has created a true monster, adorned in comic book cover art, and in my cd, coming free with a sticker, I never expected something so gargantuan to leap from the speakers. Melt together C.O.C., Soundgarden, Machine Head, White Zombie and Black Sabbath, and you have '6:66 Satan Child', a multi-layered cavern of deep sounds, gigantic riffs, spooky grooves and Glenn's usual grim croon and warlock wails, but this is so thick, and smothering, with Danzing himself providing the enormous serpent riffs, Joey C. smashing the skins and Lazie's bass a contorting leviathan. Danzing has lost none of his black charm or his catchy tunes but this time there's no warped blues, or satanic garage rock, this is heavy metal, 'Five Finger Crawl' reeks of Sabbath, 'Lilith' is a grungey blackness, and they keep on coming, oily, pounding robots swaying between full bloodied metal mayhem and gothic poetry. This is without doubt one of the heaviest metal albums, its imagery typical of Danzing's devilish obsession, but as 'Unspeakable' drifts into a maze of riffage, 'Cult Without A Name' jerks like an industrial phantom of icy noises and 'Firemass' and 'Thirteen' being the only two tracks to take it down a notch, you'll be astounded at Danzig's new sound, a cyber-void of isolation, industrial mayhem and voodoo verve, that takes the band into a new realm, one beyond the pitch door of Hell.

8/10

Buckcherry - 15 (2006)

Buckcherry have made some very good rock 'n' roll albums, but in '15' they certainly seem to have reached an equilibrium that not many modern bands will reach. If you like Beautiful Creatures and that swaggering rock 'n' roll with attitude, sleaze and sex, then '15' is essential, and one of the best modern rock albums to hit the shelves, courtesy of a band who've combined the slink of The Black Crowes, and a little bit of AC/DC, Rolling Stones, and everything that was cool about early '90s alternative metal, and boy are the songs big, in reality there should have been a few chart successes here, at least in the U.S.A., but only the throbbing 'Crazy Bitch' made headway after its raunchy video. Buckcherry are fronted by the impeccable Josh Todd who has a voice to match the bravado, and 'So Far' kicks in like a heavy metal version of the Faces, imagine a beefier Rod Stewart swinging his way through the grooves, and 'Next 2 You' is equally infectious, and after three songs you'll be wandering if the band are going to step off the gas or maybe lose tough, but '15' just gets better, 'Out Of Line' begins smoothly but stomps on its AC/DC -esque chorus, the guitars of Stevie D and Nelson are awesome, and its great to hear a US band inspired by music from other countries, and the facts are, the real swagger of rock 'n' roll comes from the likes of the Stones, Faces, T-Rex and not Kiss or Aerosmith, and on '15' there's so much influence from the '70s and '80s rock 'n' roll bands, but it's the more sugary tracks you've just got to hear. 'Everything', 'Carousel' and 'Sorry' make a genius mid-section of a record, varying from scarf waving anthems to almost '80s power rock ballads, real heart-stopping stuff that only ceases when the strains of 'Crazy Bitch' steam in, truly wondrous rock 'n' roll meltdown, and then there's the Love/Hate jig of 'Brooklyn' and three more head pounders for you to take in.

With modern rock attempting to re-create the sounds of yesterday, but also dissipating into commercial fakery, Buckcherry deserve to be in the big league, easily wiping the floor with all contenders. Sure, it probably makes them cooler that they remain on the edge of stardom, but bands like this should live forever in the memory because the songs are so grand.

8.5/10

Autopsy - Acts Of The Unspeakable (1992)

Aaah, more summery tales of lost love, finding love...and fucking dead bodies! Yep, Autopsy once again rob the graves of the infants to produce another clotted mass of downtuned gore metal which is so sincere in it's morbidity, that the sky will be raining mud for days. With an album cover, especially when you open out the inner sleeve, to have all you gore fiends festering, Reifert and co turn the air green and bring ooze, pus and urine from the speakers with their unique blend of doomy death and gargantuan plod, it really is fetid stuff, rumbling like some guttural demon from the bowels of the dirtiest, grimiest sewer, only occasionally picking up pace when the solo's of Corrales and Cutler decide to wander aimlessly away from the flesh-rotting grumble. No other band vomits like Autopsy, 'Meat', 'Necrocannibalistic Vomitorium', 'Pus/Rot' and 'Orgy In Excrements' are beautifully torturous odes to zombiefication, necrophilia, depravity, sleaze and insanity, and although quite tongue in cheek the bleakness of the experience doesn't make this a comedy of terrors, but instead Autopsy paint very grey portraits of death, mutilation, laceration and copulation, sordidly puked from the speakers, leaving the sicko's gagging for more. This record will please happy-go lucky pop fans like a clamp on the testicles.

7.5/10